Good design is for good clients
Good design and good clients arrive together — one rarely exists without the other. After two decades and 128 projects in Ljubljana, we’ve stopped pretending otherwise. The work only reaches its potential when the relationship is built on honesty, mutual respect, and a shared willingness to sit with the hard decisions.
We have had this signature for a long time. And it is still valid. Perhaps the only thing that changed since then is that we have changed the client’s term to friends.
It is a bit provocative to debate who is a good client. This is one hard definition, isn’t it?
We could say that good clients understand the importance of design and recognize its value in creating a successful product or service.
A definition from a dreadfully boring book where we are still looking for those who appreciate the impact of the design. We don’t expect everyone to understand, and that’s okay. Appreciation and understanding are things we work on and educate those who step in. A long discussion or a workshop usually helps to get everyone involved on the same track.
But more importantly, it all comes down to loyalty, trust, and understanding. Those big words must be mutual, and we need to build that relationship with them. Sometimes, for introverts like myself, this is harder than making the right decision with the design concept and direction. All creatives have the same issue; we just want to work. The only way I can get over that is if we manage to define the relationship as a friendship—they are there to help, encourage, and support you.
What Good Design Actually Requires from Good Clients
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Team 2 team
Team to team design is how we've always worked — not because it sounds progressive, but because the other way produces worse outcomes. When your strategist sits across from ours, decisions happen in minutes instead of weeks. That direct team to team design dynamic is what most studios promise and few actually practice.
First You Learn Than You Earn
Designer learning process isn't a phase — it's the foundation everything else is built on. We spent years in Ljubljana studios understanding materials, systems, and failure before a single award or client brief justified the time. The designer learning process, done honestly, is what separates work that holds from work that merely sells.
The highest award for a designer: finished work, payment, and client bragging
Designer success metrics are rarely what the industry tells you they are. We've delivered 128 projects across two decades, and the measure that holds is deceptively simple: the work is out in the world, the payment landed, and the client is doing your marketing for you. Those three moments, in sequence, define whether a project actually succeeded.
Side projects
Designer side projects are not a break from real work — they are the reason the real work stays sharp. We have run a design studio in Ljubljana since 2004, and the projects that never had a client are often the ones that taught us the most. Side projects are where instinct gets to move faster than process.
What are you buying with a designer?
What you buy with a designer is rarely what appears on the invoice. The file is the last thing — what precedes it is accumulated judgment, pattern recognition sharpened across decades, and the discipline to reject work that almost works. We've built 81 logos and won over 80 awards not by delivering what clients asked for, but by understanding what they actually needed.
Are we artists or designers?
Artists vs designers — it's a question we've been asked at every client meeting, award jury, and late-night studio argument since 2004. The honest answer is neither, or both, depending on what the brief demands. What we've learned after 81 logos and 80+ awarded projects is that the real distinction isn't about medium or ego — it's about intent and accountability.
Vibe coding
Vibe coding design is not a shortcut — it's a discipline we've been practising long before anyone named it. We let visual instinct drive technical decisions, the same way we've approached every identity and interface since 2004. When feel and function collapse into a single gesture, that's vibe coding design working as it should.
Art is Provocation: Raising Questions, without Giving Answers
Art is provocation — and that alone makes it fundamentally different from design. Where design resolves, art destabilises. We've spent two decades navigating that tension, and art is provocation precisely because it refuses the comfort of conclusions.